TW201230817A - Method and system for producing video archive on film - Google Patents

Abstract

A method and system are disclosed for archiving video content to film and recovering the video from the film archive. Video content and a characterization pattern associated with the content are provided as encoded data, which is recorded onto a film and processed to produce a film archive. By encoding the video data using a non-linear transformation between video codes and film density codes, the resulting film archive allows a film print to be produced at a higher quality compared to other film archive techniques. The characterization pattern contains spatial, temporal and colorimetric information relating to the video content, and provides a basis for recovering the video content from the film archive.

Description

201230817 VI. Description of the Invention: [Technical Field of the Invention] The present invention relates to a method and system for creating a video archive of video content and restoring video content from a video archive. U.S. Patent Application Serial No. 6/93,865, entitled "Method and System for Creating Video Archives in Films", filed on January 15th, 2010. ("Method and System f0r Producing Vide〇Archive" On Filmj) and U.S. Provisional Patent Application No. 6i/393,858, entitled "Meth〇d and System of Archiving Video t〇Film". The teachings of both Provisional Patent Applications are hereby expressly incorporated by reference in their entirety. [Prior Art] Although there are many media formats that can be used for archiving purposes, but video archiving still has advantages over other formats, including one of more than 5 years of proven storage. In addition to downgrade issues, other media (such as videotapes and digital formats) can become obsolete, with the potential concern that devices for reading magnetic or digital formats will still be available in the future. The traditional method for transmitting video to a video involves taking a video content on a display monitor. In some cases, this means taking a color video that is not displayed on a black and white monitor by separating the color filters. The result is a photo of the video image. A telecine is used to capture or restore video images from an archived photo. The video frame is viewed by a video camera and the resulting video image can be broadcast live or recorded. The shortcomings of this archiving and retrieval process are that the final video system is different from the original video. "One video display 159347.doc V'- &lt; 201230817 One video camera image" β Recovering video content from this type of video archive usually requires Manual, artistic intervention to restore color and original image quality. In spite of this, recovered video often exhibits space, time and/or color vacation images. In video camera captures where video capture captures or captures an archive, spatial artifacts can occur for different reasons, such as any spatial misalignment in displaying video images. Time artifacts can be attributed to a photo of an interlaced video display due to the difference in time to capture adjacent pairs. In the case where the video frame rate and the movie frame rate are not 1:1, the movie image may produce a time artifact resulting from a frame rate mismatch (e.g., tv movie trembling). For example, this can occur when the film has a frame rate of 24 frames per second—the frame rate and the video has a frame rate of (9) fps (in the US) or 50 fps (in Europe) and a picture of a movie The box repeats two or more video frames. In addition, due to the metamorphism between the display, the film and the video camera, the color holiday image is introduced, that is, the different colors produced by the display of the crying and the end of the field can be displayed as the same color as the film, and the archived movie The different colors of φ 廿 〜 ~ Month can be displayed in the same color as the video camera. SUMMARY OF THE INVENTION These problems in the prior art method are overcome in one of the methods of the present invention. The dynamic range of the film medium is used to maintain the digits in a self-documenting, accurately recoverable, resistant to degradation and human readable format. Video material. According to the present invention, at least the digital video data is compiled into a film density code by a non-linear relationship (for example, using a color query table), and a disk 159347.doc 201230817 is provided for the video data associated with the decoding. A characterization of the archive is used to create a movie archive. The characterization pattern can be encoded with or without the color lookup table. The resulting archive has sufficient quality suitable for use with a television movie or a film printer for producing a video image that is very close to the original video image while allowing the video to be restored to a negligible space compared to the original video, Time and color vacation images, and no human intervention is required for color recovery or gamut remapping. One aspect of the present invention provides a method for archiving video content onto a movie, the method comprising: encoding the digital video constellation by converting at least digital video data into a film density code based on a non-linear transformation; Providing encoded data comprising encoded digital video material and a characterization pattern associated with the digital video material; recording the encoded data on the video based on the film density codes; and encoding the encoded data from the recording </ RTI> </ RTI> </ RTI> </ RTI> </ RTI> </ RTI> </ RTI> </ RTI> </ RTI> </ RTI> </ RTI> </ RTI> </ RTI> </ RTI> </ RTI> </ RTI> At least a portion of the video archive of one of the characterization patterns associated with the video material; wherein by a non-linear transformation. The digital video data is encoded as video-based data; and the video archive is decoded based on information contained in the characterization pattern. Yet another aspect of the present invention provides a system for archiving video content onto a movie. The system includes: an encoder for generating video-based material corresponding to digital video data and associated with the video material Combining the encoded data of the characterization pattern, wherein the digital video data and the pixel value of the 159347.doc • 6 · 201230817 characterization pattern are encoded into the film-based data by a nonlinear transformation; And for recording the encoded material on a movie; and a video processor for processing the movie to create a movie archive. Yet another aspect of the present invention provides a system for restoring video content from a movie archive, the system comprising: a video scanner for scanning the movie archive to generate film-based material; a decoder for use Identifying a characterization pattern from the video-based material and for decoding the video-based material based on the characterization pattern to generate video material for use in restoring the video intra-valley; wherein the video-based material is Associated with the video material by a non-linear transformation. The teachings of the present invention can be readily understood by considering the following detailed description in conjunction with the accompanying drawings. The present invention provides a method and system for creating a video archive of video content and for recovering the video content from the storage slot. The encoded video material is then recorded on the film along with a characterization pattern associated with the video material, which allows the original video material to be restored. The video material is encoded such that the television movie or video print produced from the video archive can produce a video or video image that is closer to the original video, and only slightly detracts from the recoverability of the original video. For example (4), at least part of the video data may be increased in quantization noise. In some embodiments, some of the portions of the video (4) may be small in the quantization noise (4), but there is a net increase in the whole. When the film is developed, the resulting movie provides a storage slot

S 159347.doc 201230817 Quality storage media, which can be read by a TV movie or by photo. The characterization pattern provides the basis for decoding the video frame to the video when the archive is scanned for recovery. Even after decades of fading of the film dye, the subsequent decoding of the scanned material of the film frame produces a video similar to the original video. Unlike the prior art in which video content is recorded as one of the pictures recorded on the video (for example, by using a picture tube or a movie camera to take a picture of each of the video frames displayed on a monitor), the present invention The archive production system processes the video signal into a number (4), and the digital data can be substantially accurately restored by making the characterization pattern. 1A shows an embodiment of a video archive system 100 of the present invention, comprising: an encoder 112 for providing an encoded slot 114 containing video content 1 8 and a special greeting pattern 11 ; _ movie recorder ιΐ6, which is used for recording a file; and a video processor 24 for processing the recorded file and making a video archive of the video content to 6. As used herein, in conjunction with the overall activity of the encoder 1丨2, the term "encoding" includes converting a video data format into a video material format (eg, from 709 code (representing the contribution of the three video display primary colors) to a film density). a code (representing a respective density of three dyes in a film having a value ranging from 〇 to 1〇23, eg, Cineon code) and spatial and temporal formatting (eg, in video data 丨08 and characterization pattern 110) The pixels are mapped to the appropriate pixels in the image space of the film recorder 116). In this context, the f-time format refers to the time series 'pixel self-visual mapping to the video image (4) according to the video data, for example, the continuous picture in the video is mapped to the continuous film 159347.doc 201230817 frame. For progressive video, individual video frames are recorded as a single video frame, and interlaced video recordings are separate fields (eg, forming odd-column pixels of one field and even-numbered columns of another field), a frame The separate fields are recorded in the same movie frame. The original video content 1 〇 2 is provided to the system via a video source 104. Examples of this content include television programs (in digital or analog form) that are currently stored on the videotape. The video source 104 (e.g., a video tape player) suitable for use with the original video content 1 〇 2 format provides the content to the video digitizer 106 for generating video data 1 〇 8. In one embodiment, the video material 108 can be converted to RGB (red, green, blue) code values because it causes negligible artifacts compared to other formats. Although the video material 108 can be provided to the encoder 112 in a non-RGB format (eg, as a brightness value and a chrominance value), the various shortcomings and contention in the archiving and video conversion process using such formats can be recovered in the video. Introduce an artifact. The video material 1 〇 8 may be provided by the digitizer 106 in different video formats, for example, including a high definition format (such as "Rec 7 〇 9"), which provides for the agreement of encoding one of the video pixels using digital values. According to the Rec 7〇9 standard (Rec〇mmendati〇n bT7〇9 published by the International Telecommunications Union Radiocommunication Sector in Geneva, Switzerland or ITU-R), a compatible video display will apply a 2.4 power function to the video material ( Also known as having a gamma gamma of '2 such that one of the pixels having an RGB code value χ (eg, from digitizer 106) will produce a light output proportional to χ2.4 when properly displayed. . Other video standards provide other power functions. For example, one monitor that complies with the SRGB standard will have 2.2 one gamma. If the content from source 159347.doc 201230817 has been provided in digital form, for example, the SDI video output ("serial digital interface") on a professional-grade video tape player, the video digitizer 106 can be omitted. In some configurations, the original video content 丨〇2 can be represented as a luma value and a chrominance value, i.e., a YCrCb code (or, for an analogy representation, Yprpb) or other encoding that can be translated into RGB code values. In addition, the original video content 1〇2 can be subsampled, for example 4:2:2 (where for every four pixels, the brightness "γ" is represented by four samples, and the chrominance components "Cr" and "Cb" Each sample is sampled twice, reducing the required bandwidth by 1/3 without significantly affecting image quality. A characterization pattern 110 associated with the video material of the content and described in greater detail below in connection with Figures 4A-4b is provided to an encoder 112 to create the space, chrominance and/or time of the archive when an archive is created. Configuration (or at least one of these configurations). In addition, a color lookup table (CLUT) 128 is provided to the encoder 112, which encodes the video material 1〇8 based on the characterization pattern 110 and 乩1^128. The video data is encoded or processed using cLUT 128, which provides a non-linear transformation for converting video data from a digital video code to a video density code. The encoded file 114 containing the encoded video material and characterization pattern 110&apos; may or may not be processed or encoded by the cLUT 128, as explained below in connection with Figures 5 and 7. Only a portion of the characterization pattern may also be included in the encoded file, as long as sufficient information is available for a decoder to decode the movie archive. In the encoded file 114, the characterization pattern 11 can be located in front of the encoded 159347.doc • 10 - 201230817 video material (eg, as in Figures 4A-4B) or can be provided in the same as the encoded video material The image frame (not shown) ^ using a cLUT (or, more generally, a non-linear transformation) in this method results in a movie archive that is best suited for producing one of the relatively high quality film prints. This video print can be projected for visual comparison (if desired) with the video content restored from the video archive. The spatial and temporal coding by the encoder 112 exists in the characterization pattern! In 1〇, it refers to where each frame of the non-visual information is found in each frame of the archive. If the interlaced field exists in the video content 1 〇 2, then the characterization pattern 11 & also &amp; does not temporally differ from the picture field by the encoder η 2 to perform a spatial encoding. This information may be provided for the material or text attached to the pattern 1 or based on the spatial configuration or layout of the pattern, any of which may be applicable to the machine or SI! For example, the pattern U〇 may contain text regarding the position and layout of the image data, for example, the ι image data is completely on the red side • 4 except the red border (for example, refer to FIG. 4Β, element 451), The information may be particularly helpful in unfamiliar with the pattern of the stored format (for example, indicating the format of the original video, for example, "192 〇 x1 〇 8 〇, capture the time code of the frame (in the :, 6 〇) HZ")' and can print every - at least a part). In addition, the calibration pattern is periodically provided in the archive. In addition, a specific element (for example, a physical indicator of the data indicating a data item of 5) can be used for two such positions of the encoder data area, and corresponds to a frame. The presence of two or more elements (or a pair of height elements) can be found in I59347.doc •11·201230817 to indicate the presence of two fields to be interlaced in each frame. In another embodiment, data such as a set of binary values can be provided as bright and dark pixels, optionally in conjunction with geometric reference marks (indicating reference frames and scales for horizontal and vertical coordinates). This numerically based position and scale can be used instead of the boundary of the graphical depiction data area. This one-bit pattern can also represent the appropriate time code for each frame.

Regarding the chrominance coding by the encoder 1 特征, the characterization pattern 11 〇 includes a patch that forms a predetermined spatial configuration of one of the selection code values. The selection code value (4) can be selected, and the video is white, black, gray, and color. Degrees of blue, chromaticity, ochre, various flesh tones, earth tones, sky blue, and other colors), which are important for human perception because they are important for the interpretation of an image correction technique. An example of a broad range of colors. Each of the predetermined colors has a predetermined position (e.g., the color will appear in the color ticket), so the decoder knows where to find the predetermined color. The code values for such color combinations are selected to substantially cover values at or near the extreme values of the full range of video code values to allow for sufficiently accurate interpolation or extrapolation of non-selected values, particularly If the coverage is sparse. If the characterization pattern is also encoded using the cLUT, the full range of video codes (corresponding to the archived video content) may be represented in the color ticket before being encoded by the cLUT, for example, selecting the code values as the essence of the video code. One of the entire range is sparsely represented. In the case where the cLUT is not used to encode or process the characterization pattern, the color tickets should have a predetermined density value, and any deviation therefrom is used to determine for the archive (eg, from aging, or One of any drift from the change in film processing). When combined with the inverted cLUT 159347.doc •12· 201230817, one of the determinations will allow accurate restoration of the original video data. The subset of the color tickets supplied in the characterization pattern 110 may present color components separately or independently of other components (ie, other values are fixed or zero) and/or combinations of variations (For example, gray scales in which all components have the same value; and/or different sets of non-gray values) present color components. One use of the characterization pattern 110 that presents the components separately is to allow for easy characterization of the linearity and fading of the color dye as a result of archival aging (along with any effect of dye crosstalk). However, color tickets with a combination of various color components can also be used to convey similar information. The spatial arrangement and code value of the color ticket in the characterization pattern is used by the decoder to recover video from the video storage slot. For example, information about the position of a color ticket (absolute or relative to a reference position) and its color or code value representation will allow the decoder to properly interpret the color ticket, regardless of overall processing changes or archival aging interventions. problem. Regardless of whether the video digitizer 106 produces an RGB code value or some other representation, the video material 108 includes a code value that is an RGB code value or that can be converted to an RGB code value. The RGB code values are typically represented by 10 bits, but the representations may be smaller or larger (eg, 8-bit or 12-bit) ^ the range of RGB codes of the video material 108 (eg, digitized by the video) The configuration of the device 106 or the selection of one of the processing options when converting to RGB, or predetermined by the representation of the original video content 102 or the video source 104, should correspond to the range of codes represented in the characterization pattern 110. In other words, the characterization pattern preferably covers at least the range of codes over which the video pixel values can be used such that the range does not need to be extrapolated. (In addition, the push cannot be very accurate. For example, I59347.doc •13* 201230817, if the pattern covers a code in the range of 100 to 900, but the video covers the range of 64 to 940, then at the end of the video Ranges 64 to 1 and 9 to 940 need to be extrapolated from the last two or three neighbors (ie, they can be counted per hundred). This problem arises from the need to be based on video code 1〇〇, Conversion of 2〇〇 and 300, etc., one of the video codes 64 converts the behavior of the video at the hypothetical video code 64 to respond to light in a manner similar to that of the video code 〇〇, 2〇〇, etc. This may not be the case, because the characteristic curve of the film usually has a non-linear response near the low and high exposure limits. For example, if the characterization pattern 1 1 丨〇 uses the 丨〇 bit code value, and if used for video data The encoding of 108 is only 8 bits, and as part of the encoding operation by encoder i 12, video data 1 〇 8 can be left shifted and padded with 〇 to produce 1 〇 bit value, of which 8 most significant bits The element corresponds to the original 8-bit value. In another example, if the The escrow pattern 110 uses less bits than the video data 1 〇8, and the excess least significant bits (rounded or unrounded) of the video data 1 〇 8 can be truncated to match the characterization pattern. The representation /J\ 表示 depends on the particular implementation or design of the pattern, and the characterization pattern 11 encoded with the cLUT 128 is incorporated into the encoded archive 114 to provide a self-editing file for interpreting an archive or itself. Sufficient information, including the aging effect of the archive. For example, the aging effect can be interpreted based on a chrominance element (such as a density gradient representing one of the full range of code values for the video material) because of the # 征化 pattern The element in the middle may have the same aging effect as the video image in the archive. If the color pattern is designed to represent the entire color range of the video content, then the decoder does not have a prior knowledge about the pattern 159347.doc 201230817 Or in the case of scheduled information, it is also possible to calculate or heuristically dissolve the pattern. In another embodiment, the text instruction for archival interpretation may be included in the 2 characterization pattern so that A decoder can decode the archive without prior knowledge of the pattern. The characterization pattern 11 is encoded without using the cLUT 128 (and instead, using a linear transformation between the digital pixel value and the film density code) Or using one of the characterization codes to encode the characterization pattern 110), the aging effect of the sump is interpreted by using the density gradient in the characterization pattern, but would need to be the original cLUT 128 or inverted ( Additional documentation or knowledge in the form of element 148) in Figure (7) to interpret an archive. / Present in a memory device (not shown) and later re-call or stream when the decompressor ιΐ2 operates The encoded slot file ι 4 is transmitted to the ~ slice. The recorder 116, the film record II ii 6 exposes the color film m according to the encoded slot data to generate a film output 122 (ie, an exposure film) having potential slot data, the film output 122 being developed and fixed in chemistry A movie archive 126 is generated in the movie processor 124. The purpose of the s-recorder 116 is to accept a density code value for each pixel in the encoded file 114 and to cause exposure of the film 118, which causes a particular color on the movie archive 126 produced by the film processor 124. Film density. To improve the relationship or association between the value of the movie recorder 6j 6 and the resulting density on the video archive, the material logger 116 is calibrated using data 120 from a calibration procedure. The calibration data 120 that can be provided in a lookup table for converting the film density code to the film density depends on the particular fabrication of the film 118 and the desired settings of the film processor 124. In the film ιΐ8

S 159347.doc •15· 201230817 Characteristic curve (ie the relationship between 'l〇glQ exposure (lux seconds) and density (the log 倒 of the reciprocal of the transmission)) has any degree of nonlinearity, calibration The data 120 is linearized such that across the entire range of density code values, a given change in one of the density code values produces a fixed change in density. In addition, the calibration data may include a compensation matrix for crosstalk of dye sensitivity. In one embodiment, the film 118 is an intermediate film (e.g., Eastman Colc manufactured by Kodak Company, Rochester, NY, USA), especially designed to match a film recorder. The film used (for example, K〇 (jak VISI0N3 color digital intermediate film 5254) also manufactured by Kodak Company, and the film 118 is designed to have a more linear characteristic curve. Figure 12 shows the film at a specific exposure and Characteristic curves for blue, green and red under processing conditions. Other types of film can be used with different corresponding calibration data. Figure 12B shows another characteristic curve for one of these films (for example, for one color) An example, which can exhibit a shorter linear region (ie, a smaller range of exposure values within the linear region BC than in Figure 12A). Moreover, the characteristic has: a more substantial (eg, a larger exposure range) "Toe" area AB (ie, one of the smaller slopes of the 5 hai curve), which has reduced film sensitivity at low exposures, with an incremental exposure compared to The linear region BC produces a relatively small incremental density; and one of the "shoulder" regions CD' of the higher exposure has a film sensitivity that is similarly reduced by one of the exposure decisions. For these films, the overall characteristic curve has a more pronounced The s-shaped shape. However, the corresponding calibration data 12〇 can be used to linearize the relationship between the pixel code value and the density recorded on the video archive. However, the resulting video is stored 159347.doc

The S 201230817 file 126 will be more sensitive to changes in the accuracy of the film recorder 116 and the film processor 124. In addition, because the linear region BC of the characteristic curve is steeper than K〇dak Intemegative Π Film 5272 (ie, the change in density will be greater for a given incremental exposure), the film will be more prone to this - There is noise in the area (and there is less noise in the low or high exposure area). Thus, to generate a video archive, a digital density code value "c" from one of the encoded files ι4 (eg, the amount corresponding to the red primary color in the color of a pixel) is provided to the film recorder 116 for calibration based The data is converted to a corresponding film-based parameter (eg, film density (often measured in units called "state-M"). Calibration provides a precisely predetermined linear relationship between the density of the density code "c" disc and the resulting density. In the example that is commonly used, the photographic film recorder is calibrated to provide a delta density on the side of each incremental code value. The exposure required to produce the desired film density is derived from the film characteristic curve (similar to Figures 12A-12B) and applied to the film after it has been processed by the film processor m - a movie archive. In order to capture video content from the video, the film density is converted back to the rm value by a calibrated film scanner, as described below in Figure 1B. Figure 18 shows an example of a memory-reading or picking system m for restoring video from a-video archive (e.g., shadow archive 126 made by archive production system 100). The movie archive 126 may be recently made by the video storage system or may be substantially aged (i.e., the slot reading system 130 may operate the store 126 for about 50 years after the slot is created). Because the video data is converted from video to film density based on a non-linear transformation (for example, using CLUT)

S 159347.doc •17· 201230817

Therefore, the film of the present invention has an improved quality (compared to the use of a linear transformation between the data and the film density code, the other is generated by the film print output system 16 from the archive - the film The ram brush has sufficient quality for projection or display. The ~P movie archive 126 is scanned by the film scanner 132 to convert the film density to the film material 136 (i.e., represented by the density code value). The film scanner 1321 has calibration data. 134, which is similar to the calibration data 12〇, which linearizes and normalizes the scanner's response to the density of the film—the set of parameter values ('J such as T is a nonlinear offset, scaling, may be Its own: the color lookup table utilizes a calibrated scanner, the male on the film storage slot (2), the degree of measurement and produces a linear code value in the movie material 136 (ie, an increment: the value represents at least the entire of the movie archive 126) In the other embodiment, the calibration data 134 linearizes the density code over the entire density range that can be measured by the tablet scanner 132. The quasi-scanner (e.g., utilizing a linear relationship between the density code value and the film density) is read or measured by the scanner 132 using a density record corresponding to a code value "c" from the secret code slot 114. An image portion of the knife 'and the # digital density is difficult (excluding any aging effects or processing drift) will be approximately equal to "C" (inexact). To create parameters for spatial and temporal decoding, the decoder 138 reads and checks the film. The data 136 is found to correspond to the portion of the characterization pattern 11〇, and the portion is inspected to identify the location of the data region within the video material 136 (i.e., an 'region containing the representation of the video material 108). The seam inspection will reveal the video tribute Whether material 1〇8 contains a progressive or interlaced grating, and where to find 159347.doc 201230817 corresponds to the data area of the frame or field. To decode the colorimetric method of δ hai film archive (ie, the film density or Converting the film density code into a digital video code, a chrominance lookup table can be created from the decoding benefit based on the λ from the characterization pattern. Depending on how the code was originally encoded in the file. The pattern (i.e., whether the characterization pattern is encoded using the same cLUT as the video material) can be used to obtain information or transformations for decoding image data in a 5 liter video archive. If cLUT 128 is used to encode the pattern The characterization pattern in the archive is decoded: 138 (based on the characterization pattern or the syllabus obtained from the characterization pattern, the head of the syllabus or the capital.) The density code value corresponds to the original pixel code in the characterization pattern UO, and a chrominance lookup table is established within the decoder 138. For example, prior knowledge about the pattern may be predetermined or separately provided to the decoder, or information It may be included in the pattern itself (either explicitly or by convention). This lookup table (which may be sparse) is created specifically for the defragmentation material 136. Subsequently, using this lookup table (including interpolation by interpolation), the density code value corresponding to the video content material read in the portion of the shadow month data 136 can be decoded (i.e., converted to a video asset). What is not needed in this embodiment is that the externally provided inverted eLUT 148 is used to decode the archive because the characterization pattern contains sufficient information for the decoder to construct - invert the eLUT as part of the decoding (4). This is because the mediation pattern embedded in the video material 136 restored from the movie archive 126 for each of the video code values represented in the original characterization pattern 110 now includes the corresponding actual film density value. The predetermined video data value and the corresponding observation shadow review film # in the set of A values for this value is a precise inversion 159347.doc 201230817 cLUT, the inverted cLUT can be interpolated to handle the inverted CLUT not internally constructed. value. This decoding method is further described and illustrated in conjunction with FIG. Without characterization of the characterization pattern 11() in the archive using cLUT 128, the decoder 138 (also based on prior knowledge of the pattern or information from the pattern) recognizes which density codes in the film material 136 The value corresponds to the original pixel code in the characterization pattern 11 , and a look-up table (which may be sparse) is established within the decoder 138. The lookup table is then doubled by an inverted cLut 148 to produce a decoding transform that is specific to one of the portions of the video material 136 corresponding to the video material 1-8. Subsequently, using the decoding transform (including interpolation by interpolation), the density code value of the corresponding video data 108 in the portion of the video material 136 can be decoded (i.e., converted to a video material format). The decoding process can be understood as: 1) interpreting the aging effect of the archive by using the lookup table established based on the pattern to transform the film density code values, and 2) the inverted cLUT will then "de-age" (ie, The density code value of the aging effect is translated or converted into a video code value. In this embodiment, the inverted cLUT 148 (which is used to invert the cLUT 128 encoding the video material) is required to recover the original video material. This decoding method will be further explained and illustrated in conjunction with FIGS. 8 and 11. Therefore, the video data is extracted from the video material 136 by the decoder 丨3, and the video data is decoded by the decoder 丨8, depending on the situation. The recovered video data 14 is read by the video output device 142, which can format the video data 140 into a video signal suitable for the video recorder M4 to produce the reproduced video content 146. 159347.doc -20- 201230817 For example, video recorder 144 can be a video tape or digital video recorder. Alternatively, instead of video recorder 144, a broadcast or content streaming system can be used and the recovered video material 140 can be provided directly for display without an intermediate recording format. As a quality check or proof of the effect of the archive production system 100 and the archive reading system 13 , the original video content 102 and the reproduced video content 146 can be checked by the video comparison system 15 , and the video comparison system 15 can include The devices 152 and 154 allow an operator to view the original video and recovered video presented side by side. In another embodiment of the comparison system 15A, an A/B switcher can alternately display a video on a common display and then display another video. In still another embodiment, the two video displays can be displayed on a "butterfly/" display, and the HI display displays one and a half of the original video and one of the same half of the recovered video on the same display. . This display provides the advantage of overcoming a dual (eg, side-by-side) display because the corresponding portions of the two video are presented in a similar environment (eg, having similar contrast in their respective contexts), thus, A visual comparison between the two videos. The video intra-valley 146 generated from the video archive in accordance with the present invention is substantially identical to the original video content 1〇2. In addition, the 'movie print output system 16' uses a particular film print film 162 to supply the film archive 126 to a well-adjusted film printer 164 (including a development processor, not shown separately) to produce a film print 166, The movie print 166 is then projected using a projection system 168. When viewing the projection of the print 166 with the original video content 102 or one of the regenerated video content 146, it is assumed that both the movie archive 126 and the print 159347.doc 201230817 brush 166 are not substantially aged, and an operator should find two The rendering is a substantial match (ie, 'there is no need to reorder the movie colors to match the video display 152/154). 2 and 3 illustrate an exemplary embodiment of a frame of video material encoded within a video archive 126. In the video archive 2, a number of progressive scan video frames are encoded as frames F i, F2 and F3 on the movie, and in the video archive 300, the interlaced scan video frames are encoded as separate continuous fields. (such as Fl-fl, F2-f2, etc.), where F1_f1 &amp; Fi_f2 refer to different fields f1, f2 in the same frame fi. The video archives 2 and 3 are stored or written on the films 202 and 302, respectively, and the corresponding perforations (such as 204 and 3〇4) are used to create the respective positions and intervals of the exemplary movie frames 220 and 320. Each movie archive can have an optional soundtrack 206, 306 (which can be analog or digital or both) or a time code track (not shown) synchronized with one of the separate archived tracks. The data areas 21, 211, and 212 of the video archive 200 and the data areas 310, 311, 312, 313, 314, and 315 of the video archive 300 are spaced within their corresponding movie frames (exemplary frames 220 and 320). The representation of individual video fields. The data areas have horizontal intervals 224, 225, 324, and 325 from the edges of the corresponding movie frames; vertical intervals 221, 321 from the beginning of the corresponding movie frames; vertical heights 222 and 322, and interlaced The field has an inter-field spacing 323. These parameters or dimensions are all identified by the spatial and temporal description provided in the characterization pattern and are described in more detail below in connection with Figures 4A-4B. 4A shows a characterization file 110 recorded as a header 400 within a movie archive 126, and in this example, for use in an original video with an interlaced field 159347.doc • 22· 201230817 容 102. The frame height 420 is the same length as the series of four perforations (shown as perforations 4〇4) of a conventional 4 perforated ("4_ perf") film frame. In an alternate embodiment, a different integer number of film apertures can be selected as the movie frame height. In the illustrated embodiment, in each 4-perf shadow frame, the data areas 412 and 413 contain two video fields (eg, similar to the fields 312, 313 in the movie). The representations may be bounded by their respective boundaries. In this example, 'each boundary of the data area is represented by three rectangles' as shown in more detail in FIG. 4B, and FIG. 4B shows an area corresponding to the corner portions of the rectangles 451, 452, and 453 forming the boundary of the data area 412. One of 45 放大 magnified view. In other words, the rectangle having the corner area 450 in Fig. 4A contains two rectangles: 451, 452, and 453, which are drawn as pixels on the film 400, for example, each rectangle is one pixel thick. The color and/or film density of the rectangle 452 is different from its adjacent rectangles 451 and 453, and the rectangle 452 is not represented by a hash pattern. In this example, the data area for field 412 includes pixels positioned on or within rectangle 452 (ie, area 412 inside rectangle 452 contains such pixels in rectangle 453), but excludes pixels in rectangle 451 or Its external pixels. The rectangle 451 can be rendered as an easily identifiable color (e.g., red) to facilitate detection of the boundary between the data area and the non-data area. Therefore, in each of the video archives 300, each of which contains a data frame, the first field and the second field (eg, 'F2_fl*F2_f2) are arranged in the corresponding movie frame (eg, 'frame 32〇), just as the area 412 and 413 are disposed within the characterization pattern frame 420 (including the boundary rectangle 452). In this embodiment, 159347.doc • 23· 201230817 requires the film S recorder 116 and the film scanner 132 to accurately and reproducibly 4 film 118 and the shirt file i26 respectively, to ensure that the coded slot η4 can be Reproduces and accurately maps to the video indicia and maps from the movie archive to the movie material 136 during video recovery. Thus, when read by the scanner 132, the rectangles 451 through 453 accurately specify the position or boundary of the first field in the parent film frame. The film recorder and the film scanner operate according to the principle that the sub-pixel accuracy can be used to locate the perforation relative to the perforation. Therefore, each of the four perforations 304' per first field (eg, Fl-fl, F2-f2, and F3-fl) has the same spatial relationship to the four perforations of its frame as other odd fields. The same is true for the second field F1_f2, F2_f2 &amp; F3_f2. This equivalent=inter-ratio also applies to the characterization pattern 4〇〇, which defines the regions in which the first field and the second field are located. Therefore, the area 412 (represented by the feature boundary configuration (such as rectangles d, 452, and 4S3) specifies the positions of the first field F1-fl, F2_fl &amp; F3_fl, and the like. Similarly, the rectangular representation of the data area 413 is used to find individual second maps (e.g., Fl-n, F2_f2, and Fs_f2). For a progressive scanning embodiment, a single data area having a corresponding boundary (e.g., similar to the rectangle detailed in Figure 4B) specifies that the progressive frame video data area is found within the subsequent movie frame (e.g., 22 inches) ( For example, 21〇 to 212). The top 412T of the first field 412 is shown in both Figure 4A and the figure and defines the head gap 421. Together with the side gaps 424 and 425, and one of the tail gaps 420 below the area 413, the top gap 421 is selected to ensure that the data areas 412 and 3 are located in the film frame "o, making the film recorder jj 6 reliable 159347.doc • 24· 201230817 The local address all data areas 412 and 413 are used for writing, and the film scanner 132 can reliably access all of the data areas for reading. The inter-field gap 423 in the archive of the interlaced video content. The presence (shown in an enlarged scale compared to the first field 412 and the second field 413) ensures that each field can be accurately and clearly stored and restored without introducing a film in the scanner that can result from the scanner A significant error in misalignment. In another embodiment, there may be no inter-field gap 423 (ie, one of the gaps in the system), the two fields being joined to each other. However, there is no inter-field gap In the case of 423, one of the scanners may cause a pixel near one edge of a field to be read or scanned as a pixel of an adjacent field. For example, a characterization pattern in film frame 420 Inclusion color Elements 430 to 432. The chromaticity elements may comprise a neutralization gradient 43 〇, in an example, the neutralization gradient 430 encompasses a range of densities from a minimum to a maximum in each of the color dyes (eg, In the step of 〇.丨5, from a density of about 3.0 to 3.05, assuming that the film 118 in the new film archive 126 achieves such a density, one of the 21 steps gray scale. As mentioned earlier, a density The gradient can be used as a self-calibration tool for aging effects. For example, if the bright end of the gradient 430 is found in future scans (ie, the minimum density is 1% dense, the decoder Π8 can be made in the archived movie) The lightest or lowest density is reduced by a corresponding amount to correct for this aging effect. If the dark end of the gradient (ie, the maximum density) is 5% less dense, then similar dark pixels in the archived film will increase - the corresponding amount In addition, the system can compensate for nonlinear aging effects based on two reads from the gradient and linear interpolation of any density value by using an additional read across the gradient 430. 159347.doc • 25- 201230817 The color The degree element may also comprise - or a plurality of primary colors or a secondary color gradient 43i, which in an example is substantially only a (four) (7) (four) amount of primary color) or a minimum density of two dyes (to measure the secondary color) to The maximum density of - 2] step gray scale. Similar to the description of the neutralization density gradient above, it can also be measured and compensated for the density drift resulting from the aging of individual dyes. For a more complete characterization, the color The degree element may contain a collection of color tickets 432 representing a particular color. An exemplary color set is generally a similar color found in the ANSI 叮 8 standard for color transfer and control, such as 'IT8.7/1 R2003 graphics technology· Color transfer target for input scanner calibration "! T8.7/I R2003 Graphic Techn〇l〇gy _ c〇i〇r

Transmission Target f〇r Input Scanner, issued by the Washington Institute of Standards, USA, for calibration scanners; or Munsell ColorChecker sold under the X_Rite trademark by Grand Rapids, Michigan, USA. These colors emphasize a more neutral part of a gamut, providing color samples that are more representative of flesh tones and leaves than grayscale or pure primary or secondary colors. The characterization pattern can be provided in a header of a single movie frame 42. In an alternate embodiment, the characterization pattern of frame 420 can be identically reproduced in each of a number of additional frames, with the advantage that noise can be rejected based on multiple reads and appropriate filtering (eg, from Affects the film's recording, processing, or scanning of one of the stains). In still another embodiment, in addition to providing the characterization pattern in the movie frame 42A, the characterization pattern may also be provided in a header of a plurality of movie frames (not shown), for example, To provide more characterization information (such as 'extra color tickets or step gradients'). For example, a 159347.doc

B-26-201230817" can include: providing a sequence of different test patterns on one of many movie frames', for example, one of the test patterns used to test one of the grayscales in the first frame. For testing individual colors (for example, Three different test charts in three frames of red, green, and blue; and four other frames with test patterns covering the useful leaf and skin color palette. This characterization pattern can be considered To extend the eight frames - to characterize the pattern or to provide different characterization patterns in the eight frames. Figure 5 shows a process for creating a printable video slot on a movie: an example. Process 5〇〇 (which may be initiated by a video capture system η, such as in FIG. 1A) begins at step 510, and digital video data 〇8 is provided to (or received by) an encoder 112. At 512, a corresponding characterization pattern (10) is also provided in conjunction with the video material (4). The characterization pattern (d has compatibility with the encoder (and is also compatible with the decoder for restoring the video) a format) can be provided with A text file of the information of the data or as an image combined with the video frame. It can be attached as a header (to form a guided pattern with the characterization pattern) or included or as one or more of the image data. a composite of frames to accomplish this and 'but in a readable/writable area that does not contain image data (such as the interstitial area within the frame). The g-characterized pattern contains designs designed to convey the following One or more elements of the video: video format, time frame of the video frame, location of the bedding area, color or density value, aging of the movie slot, non-linearity in the video recorder and/or scanner Distortion, etc. At step 514, the video material 1 〇 8 (eg, in Rec 7 〇 9 format) is encoded using the eLUT 128 (described below in conjunction with FIG. $ and FIG. 7)

S 159347.doc -27- 201230817 Characterizes all of the pixel values of the pattern 11 to produce encoded data 114, which are equivalent to the density code values of the respective pixel values. Depending on the layout described by the characterization pattern, both the characterization pattern and the video data pixels may reside or co-locate in one or more of the encoded data 114 or the graphics and video data pixels may occupy Separate the frame (for example, in the case where the pattern is prepended as a header). Using the CLUT to encode the characterization pattern or the pixel value of the video material specifically converts the pattern or video data into a corresponding density code value based on a non-linear transformation. Curve U30 of Figure 11 is an example of a cLUT that provides a non-linear mapping or relationship between the video code value and the density code value. In this example, the original pixel code from the various elements in the characterization pattern (eg, neutralization gradient 430, primary or secondary color gradient 431, or particular color ticket 432) is the actual data point on the curve 1130 (dots) ) said. At step 516, the encoded material 1 μ is written to the film 118 by the film recorder 160 to linearize between the density code value (eg, Cine〇n code value) and the film density value. In the case of calibrating the recorder, a latent image is formed on the film by appropriate exposure according to the respective density code values. At step 518, the exposed film is processed or developed using known or conventional techniques to produce a film archive 126 at step 520. Depending on the cLUT 128 used, the printable movie archive 126 can be printed to a movie or converted directly to video in a television movie. A cLUT 128 can be optimized for printing to a particular film or for use on a television movie having a particular calibration. It is predictable that printing on a different film or using it on a different calibrated telecine will have lower fidelity results. The 159347.doc •28- 201230817

The purpose of π υ τ is to map the original video R / (eight) code values to the group film density values most suitable for direct use in the target application, while still allowing recovery of the original Rec. 709 code values. Figure 6 shows an example of a process for restoring video content from a printable image archive (which can be an aging archive) by the archive creation process. At step 6), the video storage (eg, from slot 126) is provided to a video scanner that reads the density on the video archive and converts the density The movie material 136 is generated in response to a film density code value such as a Cineon code. Depending on the particular archive and the characterization pattern, it is not necessary to scan or read the entire movie slot, instead, only at least one or more data areas (i.e., portions containing data corresponding to the video content) need to be scanned or read. For example, if the (4) characterization pattern contains only spatial and temporal information about the video material (no chrominance information), the corrected portion of the video data can be identified without scanning the characterization pattern itself. (Similar to the film recorder, the scanner has also been calibrated based on a linear relationship between the density code value and the film density value.) In step 614, based on prior knowledge of the characterization pattern, the decoder 138 The shadow 136 picks up or identifies the characterization pattern ιι〇 is recorded in step 616, the decoder 138 uses the characterization pattern and/or with respect to various 7C elements (eg, corresponding to starting at white and at ten A linear step allows for the prior knowledge of the configuration of a particular color ticket that travels one gray scale, or a special color ticket that represents a particular order of colors, to determine the appropriate decoding for the » jersey-bean 136 Information, including the specification and/or colorimetric method of the location and timing of the data area. As previously stated, because in this embodiment

S 159347.doc • 29- 201230817 The characterization pattern is encoded by using the same cLUT as used for the video material so the characterization pattern contains enough information for the decoder to obtain or construct the inverted cLut as part of the decoding action. In step 618, the decode benefit 138 uses the decoded information from step 616 to decode the data area in the archive 126 containing the video material to convert the film density code values to produce the view data. Process 6 is completed in step 62 where the video is restored from the video material. Figure 7 depicts another process 700 that is not used to create a printable video archive on a movie. At step 71, the digital video material 1 〇 8 is supplied to or received by the encoder. At step 712, the cLUT 128 is used to encode the value of each pixel of the video material 108, ie, convert the video material from a digital video format (eg, a Rec 709 code value) to a movie-based format (such as a density code). value). Furthermore, the curve 113 of Fig. u is an example of a cLUT. At step 714, a corresponding characterization pattern 11 (i.e., a pattern associated with the video material) is also provided to the encoder. The encoded data 1 i 4 contains the video data encoded using the cLUT and the characterization pattern not encoded using cLUT 128. Instead, the characterization pattern is encoded by using a predetermined relationship (such as a linear mapping) to convert the video code values of the color tickets in the pattern to density code values. In an embodiment, the pattern is encoded by converting the Rec. 709 code value to a density code value based on a linear function represented by line 1120 in FIG. 11 (in this example, line 1120 has a slope of 1) So that the Rec_ 709 code value is exactly the same as the density code value. 159347.doc 201230817 As mentioned above, the characterization pattern and the video are in different frames (for example, as shown in FIG. 4) The providing or the to-be-conquered file may be included in a frame that also contains image data (for example, in a non-image material area (in the gap 323 in the figure frame)). At step 716, the utilization is utilized. The film recorder (1) writes the encoded material 114 to the film m, and processes the film 118 in step 7 to make a shadow month archive printable archive creation process 7 which is completed at step 72. Here, the example = t At step 712, the characterization pattern 0 is not encoded by tearing (2). Like the product of process 5 〇 0, the 126 broadcast from process 7 can be printed to a movie or directly converted into a video by a television movie with similar results. The picture is used for self-storage One of the process-making processes can print the video storage slot 126 to resume the video process 8 (10). At step (4), the printable storage building 126 (for example, can be - "aged" storage slot) is provided to - scan theft (such as 1B's film scanner 132). At step 812, the film material 136° is generated by converting the scanned stain from the film density to the density code value at step 814 'based on prior knowledge about the characterization round, The decode 138 picks up or identifies the characterization pattern from the movie material 136. At step 816, the characterization pattern and/or prior knowledge of the various elements in the pattern are used to determine the decoded information suitable for the film material 136. The decoded information contains the specification of the location and timing of the data area 'a normalized colorimetric method, and for the completion of the colorimetric specification, includes an inverted cLUT 148 (which is used to encode the video data during the creation of the video archive)

S 159347.doc • 3 Bu 201230817 set). At step 818, decoder π 8 uses the decoded information from step 816 to decode the data area in archive 126 containing the video material and converts the film density code to produce video material. Retrieving the video from the video material at step 82 》 the encoding-decoding method of FIGS. 7-8 (where the video material is encoded using the cLUT (such as curve 1130 of FIG. 11) and based on a linear transformation (such as Line 1120 of Figure 11 encodes the pattern) to characterize how the entire density range of the film moves or drifts with age, and the method of Figures 5 through 6 (using the cLUT to encode both the video material and the characterization patterns) Not only does the feature of the film density value used to encode the image data float, but the inverted cLUT is also embodied such that when decoding, the inverted eLUT is no longer needed or applied separately. In the method of FIG. 7 to FIG. 8, the original c LUT used in the encoded video material is not retained for an inverted query, and the curve of the graph cannot be determined from the characterization pattern! ;, d and. The location. A H ' is decoded in the shadow month by a φ π 赍 1 by a # , decoding the movie. And density, then in the |. For example, if a standard specifies the location of the image

159347.doc Other variations to the above process may involve omitting the characterization pattern or portions thereof from the movie archive, even if it is used for encoding purposes and provided in the encoded file. In this case, a decoder can require additional information to be correct. • 32· 201230817 eg, color). The decoder can obtain additional information separate from the movie slot for decoding the color tickets for decoding the archive. In describing the method x used to create the video archive for making the present invention, the following describes the additional details about the cLUT and the back month, the use of the cLUT system in electrical thin graphics and image processing. _ Provides a mapping from a pixel value (source) to a second pixel value (destination). In the example, the eLUT maps a scalar value of one of the Ree·7〇9 code values to a scalar value of the density code (eg, 'line 1130 in Figure 11, - Rec. 7G9 code indicates only—single - a color component, such as one of the red 'green' or blue of the pixel). This single value LUT is suitable for systems where there is no interference or negligible crosstalk for current purposes. This cLut can be represented by a one-dimensional matrix, in which case individual primary colors (red, green, blue) are processed separately, for example, one of the source pixels having a red value of 1 变换 can be transformed to have one of the red values 20 The destination pixel, regardless of the green and blue values of the source pixel. In another example, the cLUT maps a color triplet representing one of the source values (e.g., three Rec 7 〇 9 code values of R, G &amp; B) to one of the density codes corresponding to the triplet. This table = is appropriate when the three color axes are not truly orthogonal (eg, due to crosstalk between the red sensitive film dye and the green sensitive film dye, the right green sensitive dye is also slightly sensitive to red light or if the green Sensitive dyes with non-zero absorption of wood other than green light during development may result in three color axes not being truly orthogonal). This cLUT can be represented as a two-dimensional (3D) matrix, in which case the three primary colors can be processed into one of the source color cubes to be transformed into a destination pixel - 159347.doc ^ 201230817 3D coordinates. In a 3D CLUT, the value of each primary color in the source pixel can affect any, all or none of the primary colors in the destination pixel. For example, depending on the value of the green component and/or the blue component, a source pixel having a red value of 10 can be transformed into a destination pixel having a red value of 20, 〇, 50, and the like. Usually, 'in particular in a system with a large number (eg, 10 or more) of bits representing each color component, a cLUT can be sparse, ie, only a small number of values are provided in the LUT, interpolating other values Used for its use (if needed). This saves memory and access time. For example, a dense 3D cLUT with one 原 primary color value may require (2Μ0) Λ 3 (where 2 Λ 1 〇 refers to 2 〇 powers), or slightly greater than one billion items to provide for each possible One of the source pixel values is mapped. For a benign (ie, without extreme bending or discontinuity) cLUT, a sparse cLUT can be established and the value of the destination pixel is interpolated by conventional methods. The conventional method includes the corresponding source pixel and sense based on the nearest neighbor. The relative distance of the source pixel of interest assigns the nearest neighbor (or nearest neighbor, and its neighbors) 6 Rec. One of the values of one of the sparse cLUTs is usually a density of 17 8 3 (ie, Along each axis of the color cube, each primary color is 17 values, which causes slightly less than 5000 destination pixel items in the 111-square. Figure 9 illustrates a process 900 for establishing one of the uses in the present invention (e.g., cLUT 128 in Figure 1A). In this example, it is intended to establish a conversion of video code values suitable for exposure to a movie. One of the film density code values of the film 118 in the recorder c16 is cLUT and the resulting movie archive 126 is most suitable for making a film print 166 such that inspection is performed from either the projection system 168 and the display ι 52 159347.doc -34 - 201230817 and 154 One of the output of the operator can perceive a large match. Process 900 takes the original video code space at step 91 (in this example, Rec. 709 ' #曰疋 is the scene reference at step 911, the video data is self-contained The original color space (eg, Rec. 709) is converted to an observer reference (〇bserver_referred) color. Space (such as XYZ, which is the coordinate system of the 1931 CIE chromaticity diagram). This is done by applying an index to the Wait for the Rec. 7〇9 code value to complete (for example, 厶” or 2_4, as a value suitable for a “dark surround” viewing environment that is considered to be one of the typical living rooms or study rooms for watching TV. The reason the observer refers to the color space is because the purpose of the cLUT is to make a film look as if it is as possible when presented to the viewer. This is to treat the observer as a reference point (thus the term "observer reference" is derived One of the color spaces is the easiest to implement. Note that the term "scene reference" or "output reference (〇lltpUt-referred)" is known to those skilled in the art to specify that a code value is actually defined in a given color space. In the case of Rec. 7〇9, the “scene reference” means to refer to something in the % scene. In particular, the reference is reflected in the field of view of the camera away from a calibration card (on which there is a The amount of light of a particular printed, one of the physical cardboard sheets that is specifically a matte color ticket (the white color of the card should be a code value of 940, the black of the card should be a code value of 64, also defining a specific gray color ticket, Set the parameter of an exponential curve.) "Output reference" means that a code value should produce a specific amount of light on a monitor or projection screen. For example, for a code, how many feet should be emitted on a screen - Lambert (f 〇t-Lambe(1) Light. Rec. 709 specifies which primary color should be used and which color corresponds to white I59347.doc -35- 201230817 color 'and therefore the standard has a stupid "a ^ in some sort of "output reference", However, the key value of the code value (4) definitiGn) is the "scene reference".) "Observer reference" and how humans perceive light and color correlation. χ ζ ζ color space is based on how humans perceive color measurement, and the basin is also code. Also, its It is not affected by things such as the primary color used by a system to capture or display an image. One of the colors defined in the space will look the same 'without thinking about how it is produced. Therefore, two presentations (such as 'video and video') that look at the same chat value will look the same. There are other observer reference color spaces (eg, Yuv Yx#, etc.), all of which are derived from the 1931 CIEf material or its more modern improvements (the basin slightly changes some details) a at step 912, making an inspection or The query determines whether the resulting color gamut (ie, the color gamut of the image data after conversion to the observer reference color space (identified as χγΖι)) significantly exceeds the color gamut that can be represented in the movie (a strategy that can constitute a "significant element") 'Especially about the degree and duration of the film's color gamut. If it is determined that the film gamut is not significantly exceeded, the viewer reference code (gamut χ ζΑ ζΑ) is passed to step 914. The film gamut refers to one of the trajectories of all colors that can be represented on the film media. When you need a color that cannot be expressed in the movie, 'Exceeded' - the color gamut of the movie. The color gamut of the film (such as 'saturated cyan 'yellow, magenta) exceeds the color gamut of the video and the color gamut of the video is elsewhere (for example, saturated red, green, and blue) than the color gamut of the movie. Otherwise, if at step 912 it is feared that the color gamut of XYZl* significantly exceeds the color gamut of a film print 166, then the color gamut is remapped at step 913 to produce a code in the -reshaped color gamut (still in the χ ζ ζ color) In space, but now 159347.doc -36· 201230817 is identified as ΧΥΖ 2). Note that the color gamut is not the color space but the value of the trajectory in the color space. The color gamut of a film is the color gamut that can be expressed in the film. The color gamut is the full color that can be expressed in the video, and the color gamut of the specific video material (for example, the video data pair) is the video data. A collection of unique colors that are actually used throughout. By splicing the color gamut in the ΧΥΖ color space, it is possible to compare other gamuts that are different from the image (the film is an absorptive medium, and the video display is emissive). Many techniques for gamut remapping are known, and the most successful is the combination of combining results from different techniques in different regions of the gamut. In general, 5, a color-domain remapping is implemented in a perceptually uniform color space (a special subset of the observer's reference color space), and the cIE 1976 (L' a' b ) color space (CIELAB) is particularly suitable. Therefore, in the embodiment of the gamut remapping step 913, the Rec. 709 white point (light illuminant) is used to convert the code in the ΧΥΖι color field into CIELAB, and the mapped code substantially does not exceed the film gamut, and then It is then converted back to the χγζ color space to produce a modified color gamut ,2, now having properties that do not significantly exceed the available film gamut. The value or advantage of performing gamut remapping in CIELAB rather than χΥΖ color space is such that a particular ratio change made to certain colors is similar in perception to the rest of the gamut (ie, , other colors) make the same proportion change (this is one of the properties of CIELAB, this is because it is perceptually uniform). In other words, in the CIELab space, a certain change in any amount along any axis in the color space in any direction is perceived by humans as a "same size" change. This helps to provide no birth

S 159347.doc •37· 201230817 The disturbing or excessive illusion of life—the gamut gamut remapping' is because the color is changed in one direction and in the gamut in some areas of the gamut. In other areas, the color is modified in a different direction (or hug, Λ u u flying very, and there are). (Because a video display has a color gamut different from that of a movie gamut, there will be some colors in the video gamut that do not exist in the color gamut of the movie. Therefore, if the video is in the film If the color gamut cannot be found in the video color gamut, one of the bright spots in the field, you can move the green in the negative y direction by using the XYZ space (generally +^, slave). Come

Map this green again. This has the specific end A i which will tend to be more unsaturated than the green (the head of the CIE chart towards the XYZ space, you can go to "the white area of the clothing and the white area (white-ward)") effect. However, when the green color of the sound in the Chengtianba area is remapped to a light green color, it may also be necessary to move or modify the original video color basin in a similar direction (but possibly in a different amount). jUf ih. /Jr 匕4 TI has his green color in order to maintain some effect of localization in this color gamut. For example, if some saturated green is required in the video material 1〇8, but the green color is outside the color gamut reproducible by the film print 166, the video data may be made during the remapping step 913. These saturated greens in 8 are less saturated and/or less bright. However, for other neighboring values (which may not exceed the available movie gamut), a re-mapping will be necessary to avoid overlapping with such values that must be remapped. Furthermore, in addition to avoiding an overlap, 'should try to make the remapping as smooth as possible (in the perceived color space) in order to minimize the approximation of visible artifacts (eg, Mach bands). At step 914, the code within the natural color gamut (XYZ!) or the remapped gamut (Χ γ Ζ 2) is processed through an inverted film print simulation (iFpE). The 11?1^ can be expressed as a function or a cLUT representing the function 'as in constructing other cluts (by 159347.doc -38-201230817 S for a different reason and using a different empirical basis) ^ In this case, indicating the The CLUT of the iFPE converts the XYZ color value into a film density code and can be implemented as a 3D cLUT. A feature of a film print simulation (FpE) film 11 8 and 162 and projection system 168 illuminator (projector lamp and reflector optics) that will provide a density value to a film recorder 丨 16 ( For example, the 'Cineon code' translates to the color value that is expected to be measured when viewing the projection system ι68. FPE is well known in the digital mid-production work of the animation industry because it allows an operator to work from a digital monitor to color correct a picture and expects that the correction is in the digital distribution of the movie and the release based on the film. It looks correct. As described in the above description of the sparse cLUT, a ρρΕ can be fully expressed as a 17乂17乂17 sparse spit 1;1' with excellent results. Invert a 171^ to produce a simple mathematical exercise for the iFPE (known to those of ordinary skill). However, in many cases, an inverted 17x1 7x17 cLUT does not provide sufficient smoothing properties and/or benign boundary effects. In such cases, the FpE to be inverted may be modeled using a less heterogeneous matrix (e.g., 34x34x34) or in an area exhibiting a higher rate of change using a non-uniform matrix having a larger set of samples. The result of the iFPE at step 914 will produce a film density code (e.g., Cineon code) corresponding to the threshold of the provided color gamut (i.e., the color gamut of Rec. 709). Thus, the aggregation transform 915 translates the video code value (e.g., 7〇9) into a density code usable in the encoded file U4 for making a negative film, such as in print 166, which will be produced on the film when printed. An appreciable approximation of the original video content 102. The film density code corresponding to the initial video code at step 91A stores the gcLUT 128 at step 916. 201230817 The cLUT establishment process 900 ends at step 917, and the CLUT 128 has been generated. The cLUT can be ID or 3D. Figure 10 shows another cLUT setup process 1 ’ ' which begins with a video code at step ι〇1〇 (using Rec. 709 again as an example). At step 1015, a simpler approximation of one of the aggregate functions 915 is used to represent the transformation from the video code space to the film density data (using the Cineon code again as an example). A simplified example skips steps 912 and 913. Another simplification is to combine the Rec·709 versus XYZ pair density data into a single gamma index and a 3x3 matrix&apos; that may contain sufficient scaling to ensure that the film gamut is not exceeded. However, it is noted that such simplification will result in reduced image quality when printing the archive. Such simplification may or may not alter the quality of the recovered video material. At step 1 〇 16, the values are populated into a simplified CLUT, which may be the same as in step 916 or may be modeled more simply (eg, for each of the primary colors, modeled as a 1 dimension) (ID) LUT). At step 1〇17, this simplified cLUT is available for use as cLUT 128. Figure 11 does not show one of the exemplary conversions from the Rec. 709 code value mi to the Cineon density code value 1112. A linear mapping or function 112 can be used to create a video archive of a valley of video that is not intended to be printed, since the nature of the linear mapping or function is intended to be optimized for optimal or almost ambiguous noise distribution (ie The ability of each of the written code values to be written and recovered by the density value of the same size range on the film (through the movie recorder 116 and the film scanner 132). In this example, linear map 1120 maps the range of Rec. 709 code values (64 to 94 〇) to the same value (and "legal"', ie, Rec 7〇9) Cine〇n code value (64 to 159347) .doc 201230817 940). One of the ways to incorporate this approach is in Kutcka et al., entitled "Methods and Systems for Archiving Video to Film" ("Method and System of

Archiving Video to Film" is taught in U.S. Provisional Patent Application Serial No. 61/393,858. However, the linear map 112〇 is not suitable for a movie store that is expected to implement a movie print 166 or a telecine from it. This is because the dark color will appear too dark (if not black) and the bright color will appear too bright (if not trimmed) white). As a result of the non-linear mapping or function 113 described by cLUT 128 (shown here as an ID cLUT for clarity), it is a single dimension (rather than 3D). In this example, it is applied to the Rec 7〇9 video code value range (64...940) 'normalized to the standard Hnear Hght value, k is raised to an index yv 〖de〇=2.35 (for One of the "dark surround" viewing environments is suitable for gamma, but another common choice is 2.4"), which produces a range of linear light values r 丨 (ν) as shown in the following equation: Equation 1:

Fv _ V Λ \yVIDEO /(v) = --LQwl_^ χ Λ mYvideo _ I rviDEo Λ where vL〇w=64 and vHIGH=940 are the lower limit code value and the upper limit code value, each corresponding to a linear light value of 1L〇 W = 90% and 1 high = 1%. This is derived from the specification in Rec. 709: the value 64 should be assigned to a black (1% reflectance) test color ticket code value, and the value 940 should be assigned to a white (90% reflectance) test color ticket. The code value 'so earlier stated Rec. 709 is the "scene reference". Note that for embodiments using other video data codes, different values or equations can be used. 159347.doc -41 - 201230817 To convert to the film density code, determine a midpoint video code VMID, which corresponds to a video code value that can correspond to a gray (18% reflectance) test color ticket, ie, satisfy the equation: 2 : = Solving the vmid equation 1 and Equation 2 provides a value of approximately 431. In the Cineon film density codes, one of the color density code values dMID is 445 corresponding to a gray (丨8〇/〇 reflectance) test color ticket. A common movie gamma system Yfilm = 〇.60 ′, but depending on the film 118 used, other values can be selected. The Cineon film density code provides a linear change in density per increment, and the twist is the logarithm of the reciprocal of the transmittance; therefore, an additional constant s = 5 〇〇 specifies the number of steps per decade (number of steps per Decade). The translation of the value of the self-visual code value to the film density value is expressed in this equation: Equation 3: coffee) =, should be i. (l〇giQ(/(7))_1〇g丨. (/(v Hall))) +£/Natukai&gt; The non-linear mapping 113 in 1110 is one of the d(V) of the video code in the range of 64 to 940. For example, dL〇w=d(VL〇w=64)=68, dMm=d(vM1D=431)=445, and dHIGH=d(VHIGH=940)=655. Note that the male and female code values can be rounded to the nearest integer value. Because of the non-linear nature of curve 1130, the incremental video code "v" can cause a discontinuous video density code "d" for a video code value (v) less than about 256, because in this region, curve 113 The slope is greater than 1. (Examples. Instead of having a continuous film density code corresponding to a continuous or incremental video code, such as 1, 2, and 3, the density code in the sequence may be when density reading is performed by scanning the movie archive (possibly A small amount of noise), 3, 159347.doc -42· 201230817 4 or 5 density readings can all be mapped to the video code corresponding to density code 4. Therefore, these density readings have a certain degree of noise immunity. For a video code value greater than about 256, the curve; the slope of π30 is less than], and the incremental video code may cause a repetition density code when rounded to an integer (ie, there may be more than 256 of the same density code value) Different video code values). (As an example, for a density code 701, there may be two different video codes corresponding to the density code. If a density code is read back as having a count error in density, this may cause one of the counts to differ. Video code. Therefore, in this area, reading and back conversion are additional noise.) As a result, when the video code is restored from the video archive 126, the brighter portion of the image will be slightly more noisy and the darkness of the image. In part, compared to the use of 丨: 丨 linear conversion 丨 12 视 video code recovered from one of the video archives on the video has slightly less noise. However, when you need to save the (four) brush i video or use - TV movie scan

This balance is worthwhile when the monthly b force. (Note that because the linear transfer function 1 HQ has a larger maximum density than the curve 1130, one of the film archives from this linear conversion method will cause a bright color to burst (ie, too bright) one of the film P brushes. α Similarly, The darkness of the film print will be darker than the darkness of the beta print made using the curve 。13〇. The effect is made from the use of linear conversion 1120 - the print of the film can produce excessive contrast (1) if the shirt is reached One of the film prints that is mostly too dark or too bright. Using a LUT as a valid calculation tool or in the above example, as a "shorthand" to cover a competition - μ μ _ more - slave transformation, the transformation can be modeled as a sin + Zeng hong Hong J calculation function. Right, the actual equation representing the transformation of 159347.doc -43· 201230817 can be determined, and the calculation is repeated to obtain the corresponding code value for each pixel or value to be translated or transformed. The cLUT, whether 1 or 3d, sparse or otherwise, is a viable implementation for handling this transformation. The use of a cLUT is advantageous because it is generally not expensive because it is used in millions of calculations per frame. However, establishing different cLUTs may require different amounts of computation (or different numbers and types of measurements, and if the continuous transformation is unknown, it is difficult to calculate or difficult to obtain parameters, the cLUT must be constructed empirically). While the foregoing is a description of various embodiments of the present invention, other embodiments of the present invention can be devised without departing from the scope of the invention. By way of example, one or more of the features described in the above examples can be modified, omitted, and/or used in various combinations. Accordingly, the proper scope of the invention is determined by the scope of the appended claims. BRIEF DESCRIPTION OF THE DRAWINGS FIG. 1A illustrates a system for archiving video to a movie suitable for use in a television movie or for printing; FIG. 1B illustrates a system for restoring a video previously archived to a video. And a system for creating a movie print from a self-archiving; FIG. 2 is a progressive sequence of one of the video archived to the video; FIG. 3 is a cross-sectional view of the sequence of the video archived to the video; A characterization pattern is used at the forefront of one of the progressive frame video archives on the film; FIG. 4B is an expanded view of one of the portions of FIG. 4A; FIG. 5 illustrates the use of one of the video data and the characterization pattern. Query 159347.doc 44-201230817 Table (cLUT) is a process of establishing one of the video archives of the video; the movie archive recovery view 6 is used for the process of establishing one of the messages by the process of FIG. 5; Using the video data - cLUT to establish one of the video archives of a video; Tuqi shows a process for recovering video from a video storage slot created by the process of Figure 7; - - the example of the process, it seems that the first instance is used in a method for producing a film store suitable for making a film print; Figure 10 shows another supervisor for establishing a cLUT For example, the other example of the cLUT is suitable for use in a method of producing a film archive suitable for making a print of a shirt; FIG. 11 is a diagram showing one of the exemplary cLUTs; and FIGS. 12A-12B Show some characteristic curves of the film. [Main component symbol description] 100 video archive system / archive production Lee 102 original video content 104 video source 106 video digitizer 108 video content / video data no characterization pattern 112 encoder 114 encoded slot / encoded data I59347. Doc 201230817 116 Film Recorder 118 Film 120 Calibration Data 122 Movie Output 124 Film Processor 126 Movie Archive 128 Color Lookup Table (CLUT) 130 Archive Read or Capture System/Archive Read System 132 Film Scanner 134 Calibration Data 136 Video Data 138 decoder 140 recovered video data 142 video output device 144 video recording benefit 146 regenerated video content 148 inverted cLUT 150 video comparison system 152 display 154 display 160 film print output system 162 film print film 164 film printer 166 film print 159347 .doc -46- 201230817 168 Projection System 200 Film Storage 202 Film 204 Perforation 206 Optional Sound Track 210 Digestion Area 211 Poor Area 212 Poor Area 220 Film Frame 221 Vertical Interval 222 Vertical Height 22 4 Horizontal interval 225 Horizontal interval 300 Movie archive/film 302 Film 304 Perforation 306 Selected sound track 310 Data area 311 Data area 312 Data area/field 313 Data area/field 314 Poor area 315 Data area 320 Film frame 159347 .doc -47- 201230817 321 Vertical spacing 322 Vertical height 323 Inter-field spacing/in-frame gap 324 Horizontal spacing 325 Horizontal spacing 400 Header/film/characterization pattern 404 Perforation 412 Data area/first field 412T First Top of the field 413 Data area / second field 420 Film frame height / characterization pattern frame / film frame 421 Head gap / top gap 423 Inter-field gap 424 Side gap 425 Side gap 426 Trail gap 430 color Degree Element / Neutral Gradient 431 Chroma Element / Primary Color or Auxiliary Color Gradient 432 Chroma Element / Color Ticket 450 Corner Area 451 Rectangular / Element 452 Rectangular 453 Rectangular FI Frame 159347.doc -48- 201230817

Fl-fl First map field Fl-f2 Second map field F2 Frame F2-fl First map field F2-f2 Second map field F3 Frame F3-fl First map field F3-f2 No. _ _ Field 159347 .doc -49- {-1

Claims (1)

201230817 VII. Patent application scope: 1. A method for archiving video content onto a movie, the method comprising: encoding the digital video data by converting at least digital video data into a film density code based on a non-linear transformation; Providing encoded data comprising the encoded digital video material and a characterization pattern associated with the digital video material; recording the encoded data on the video based on the film density codes; and encoding from the record having the record The film of the material is used to make a video. 2. The method of claim 1, wherein the characterization pattern in the encoded material is encoded by converting the pixel values of the feature pattern to a film density code based on the nonlinear transformation. The method of claim 1, wherein the characterized pattern of the encoded data is encoded by converting the pixel values of the characterization pattern to a film density code based on a linear transformation. 3. The method of claim </ RTI> wherein the encoding is performed using a color lookup table representing the nonlinear transformation. 4. The method of claim i, wherein the characterization pattern provides at least one of time, space, and chrominance information for the digital video material. 5. The method of claim 19, wherein the characterization pattern includes at least one of a time code of the video frame, an element indicating a location of the video material on the video archive, and a color ticket indicating a pre-pitch value. 6 · A method of seeking J§ 1 &gt; 1丄, wherein the characterization pattern comprises at least one of data, text 159347.doc 201230817 and graphic elements. 7. The method of claim 1, wherein the characterization pattern further comprises: a density gradient and at least one of color tickets representing different color components. 8. The method of claim 1, wherein the non-linear transformation is established by: converting the digital video material from an original color space to an observer reference color space having a color gamut that does not exceed one of the color gamuts of the movie; An inverted film print simulation transform converts the code value of the digital video material in the viewer reference color space into a film density code; and stores the converted film density code for use as the nonlinear transform. A method for recovering video content from a tablet storage slot, the method comprising: scanning a video archive containing digital video data encoded as video-based data and a characterization pattern associated with the digital video data to The eve-part; the digital video has been encoded into a video-based material by a non-linear transformation; and the video is decoded based on the information contained in the characterization pattern to decode the video archive 2 item 9 The pixel value of the characterization pattern in the ° has been encoded by the nonlinear transformation as a film based material. 11. The method of claim 9 wherein the characterization pattern provides at least one of P, ^ gg, time and chrominance information for the digital video material. 12. The characterization pattern includes at least one of a material, a text, and a graphic element. J59347.doc 201230817 The method of claim 9, wherein t performs the decoding based on information about the nonlinear transformation. 14. A system for archiving video content onto a video, the system comprising: - an encoder that produces a material based on the slice-based data corresponding to the digital video material and associated with the video material The coded data of the pattern 'where the digital video data and the image of the characterization pattern>, the value is encoded as the film-based material by nonlinear transformation; a film recorder for the encoded material Recorded on a movie; and 'a film processor that processes the movie to produce a movie. 15. A system for recovering video content from a video storage system, the system comprising: a video scanner for scanning the video archive to generate a video based material; , a decoding benefit, for identifying a characterization pattern from the film-based material and for decoding the film-based material based on the characterization pattern to generate video material for use in restoring the video content; wherein the film-based data is by A nonlinear transformation is associated with the video material. 159347.doc,